1. Schoenberg, "A Self-Analysis" (1948), in Style and Idea, 78. [BACK]

2. Schoenberg, "Composition with Twelve Tones (1)" (1941), in Style and Idea, 244. [BACK]

3. Schoenberg, "How One Becomes Lonely" (1937), in Style and Idea, 30. [BACK]

4. Schoenberg, "Composition with Twelve Tones (1)" (1941), 215. [BACK]

5. Arthur Schnitzler, Jugend in Wien (Frankfurt am Main: Fischer Taschenbuch Verlag, 1981), 60. [BACK]

6. See Cosima Wagner's Diaries, ed. Martin Gregor-Dellin and Dietrich Mack, trans. Geoffrey Skelton, vol. 2, 1878-1883 (New York and London: Harcourt, Brace, Jovanovich, 1980), 773. [BACK]

7. See H.H. Stuckenschmidt, Schönberg (Zürich and Freiburg: Atlantis Verlag, 1974), 25. [BACK]

8. See Herzl Shmueli, "Adolf-Bernhard Marx (1795-1866): Deutscher Musiker jüdischer Herkunft (Eine Dokumentation)," Orbis Musica 10 (1990/91), 219. [BACK]

9. See Adolf Bernhard Marx, Die Musik des neunzehnten Jahrhunderts und ihre Pflege (Leipzig: Breitkopf & Härtel, 1873), 35. [BACK]

10. Jacob Katz, From Prejudice to Destruction: Antisemitism 1700-1933 (Cambridge: Harvard University Press, 1980), 81. [BACK]

11. Schoenberg to Kandinsky, 20 July 1922, Schoenberg Letters, no. 42, 70-71, esp. 71. [BACK]

12. Schoenberg to Kandinsky, 20 April 1923, Schoenberg Letters, no. 63, 88. [BACK]

13. Still today Louis Farrakhan draws upon the alleged authority of the "Protocols" for his absurd charges of a worldwide Jewish conspiracy. At the time Henry Ford's Dearborn Independent took care of that sort of thing. When the evidence of forgery turned out to be incontrovertible, Ford simply stopped printing new accusations and reprinted the old ones. [BACK]

14. Jacob Wassermann, Mein Weg als Deutscher und Jude (Berlin: S. Fischer Verlag, 1921). [BACK]

15. Max Brod, Heidentum, Christentum, Judentum, 2 vols. (Munich: Kurt Wolff Verlag, 1921). [BACK]

16. Jacob Klatzkin, Krisis und Entscheidung im Judentum: Probleme des modernen Judentums, 2d ed. (Berlin: Jüdischer Verlag, 1921). [BACK]

17. Michael Mäckelmann, Arnold Schönberg und das Judentum: Der Komponist und sein religiöses, nationales und politisches Selbstverständnis nach 1921 (Hamburg: Verlag der Musikalienhandlung Karl Dieter Wagner, 1984), 13-14. But see Alexander L. Ringer, Arnold Schoenberg: The Composer as Jew (Oxford: Clarendon Press, 1990), 4 and passim. [BACK]

18. For a discussion of the conditio judaica in connection with Gustav Mahler in particular, see Nikolaus Vielmetti, "Das Judentum im zeitgenössischen Musikleben," in Bruckner Symposion 1986, ed. Othmar Wessely (Linz: Anton Bruckner Institut, Linzer Verlagsgesellschaft, 1989), 49-57. [BACK]

19. American Jewish Committee, American Jewish Yearbook 5683 (Philadelphia: Jewish Publication Society of America, 1922), 24:61. [BACK]

20. Schoenberg, Harmonielehre (Leipzig and Vienna: Universal Edition, 1911), v. [BACK]

21. See Nikolaus Vielmetti, "Lorenzo Da Ponte — Emanuele Conegliano," Orbis Musica 10 (1991/1992), 201. [BACK]

22. Schoenberg, Harmonielehre, vii; Schoenberg, Theory of Harmony, 2. [BACK]

23. Schoenberg to Kandinsky, 4 May 1923, Schoenberg Letters, no. 64, 92-93. [BACK]

24. These are the concluding words of Schoenberg's Der biblische Weg. [BACK]